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The art is utter garbage. It starts off as horrid animu bullshit meets Tin-Tin with wretched backgrounds and just stays there. All the significant female characters have wide, Japanese doe-eyes while the men have these oddly beady eyes, reminiscent of Tin-Tin (if Tin Tin were drawn by a retard). When we get to the midgety polar bear, he's draw in a much less realistic Japanese style and yet the mother is back to Tin Tin. The lack of consistency in the character design is downright jarring, and it shows that Gieni probably doesn't know what the fuck he's doing (he doesn't).
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Wintric thumbs the pocketknife in his hand. He opens up the two-inch blade, locks it into place, places it on the coffee table, and leans back. His big toe digs into the carpet and Wintric thinks about the upcoming parade walk, meeting up with other soldiers, the sunny day, thousands lining the street, gawking. His neck tightens. Daniel stops pounding the table and points the gun at the blank television and shoots a dart at the screen.
The cool water casts some reprieve from the hot day as Wintric sits down near the shore. He presses his middle fingers into his temples, then breathes and holds the air until his body forces him to take another breath. He breathes deep and holds the air again, feeling his neck and eyes pressurize before his forced exhale.
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Wood snuff box with an image of three Jewish hareskin dealers carved on the lid. Snuffboxes were used to store smokeless tobacco, called snuff, which was inhaled through the nose. The use of snuff became popular in Europe during the 18th century. Snuffboxes were made in a variety of shapes and sizes. Smaller snuffboxes were carried by individuals, and large boxes were set on tables or other furniture and remained stationary. The boxes were made from several different materials, including wood, metal, ivory, and animal horns. They were often ornately decorated with jewels, precious metals, paintings or carvings. The image on the snuffbox depicts the Jewish hareskin dealers with stereotypically hooked noses, hooded eyes, beards, and pointed teeth. The scene, possibly based on a Dutch folktale about three Jewish hareskin dealers who swindle a miserly farmer, can be traced back to the lithographic printing firm of Johan Martin Billroth, which opened in 1829 in Groningen, Netherlands. This image was popular in northern Europe in the early 19th century and was reproduced in various mediums. The snuffbox is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.
Coquilla nut snuffbox with an image of three Jewish hareskin dealers carved on the lid. Snuffboxes were used to store smokeless tobacco, called snuff, which was inhaled through the nose. The use of snuff became popular in Europe during the 18th century. Snuffboxes were made in a variety of shapes and sizes. Smaller snuffboxes were carried by individuals, and large boxes were set on tables or other furniture and remained stationary. The boxes were made from several different materials, including wood, metal, ivory, and animal horns. They were often ornately decorated with jewels, precious metals, paintings or carvings. The image on the snuffbox depicts the Jewish hareskin dealers with stereotypically hooked noses, hooded eyes, beards, and pointed teeth. The scene, possibly based on a Dutch folktale about three Jewish hareskin dealers who swindle a miserly farmer, can be traced back to the lithographic printing firm of Johan Martin Billroth, which opened in 1829 in Groningen, Netherlands. This image was popular in northern Europe in the early 19th century and was reproduced in various mediums. The snuffbox is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.
Porcelain bisque figurine of a Jewish man, possibly an ashtray or change plate, made in Germany. The man has a large nose, sidelocks, large ears, a beard, hooded eyes, and fleshy lips; all stereotypical physical features commonly attributed to Jewish men. The text on the figurine indicates the man is bemoaning the spa tax in Carlsbad, Austria-Hungary (now Karlovy Vary, Czech Republic). Carlsbad is a European town located on a thermal spring, and has accommodations that use those springs for their medicinal and rejuvenating properties. Many European spa towns can trace their histories back to ancient Roman settlements. During the 18th and 19th centuries, European spa towns became increasingly popular as centers for health and social destinations for the affluent, the nobility, and European royalty. During this time, seemingly large numbers of Jewish guests also frequented the spa towns. However, antisemitic sentiment was also present. Derogatory postcards, called Judenspottkarten [Jew-mocking cards], and other souvenirs were produced and sold. The figurine lamenting the cost of the services at the spa town is a reference to the stereotype of the greedy Jew. This stereotype dates back to the Middle Ages, when economic and professional restrictions limited many Jews to the occupations of retail peddling, hawking, and moneylending. Additionally, medieval religious belief held that charging interest (known as usury) was sinful, and the Jews who occupied these professions were perceived as morally deficient and willing to engage in unethical business practices. These factors formed the canard of the greedy Jew who exploited Gentiles. This figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.
Crook handled walking stick with an intricately carved head of a Jewish man with bulging eyes, and a patterned, segmented shaft giving it a snakelike appearance. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. These walking sticks are examples of racial antisemitism becoming part of everyday life. This cane is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.
Tobacco pipe bowl with an image of three Jewish hareskin dealers painted on the front. Bowls of this type were used with German Gesteckpfeife (arranged pipe) style tobacco pipes, also known as a Jaeger Pipes, German hunter pipes, German Porcelain pipes, Tyrolean pipes, and Wine Pipes. The tobacco was packed in the porcelain bowl which was then placed in the reservoir (or abguss) of the pipe (2016.184.115b). The reservoir acted as a retainer for the juices and tar, and sometimes wine was placed in the reservoir to flavor the smoke. This style of pipe was popular in Central Europe from the 18th to the early 20th centuries and was most commonly associated with Germanic culture. The bowls that accompanied these types of pipes were often decorated with elaborate images or coats of arms. The commonly reproduced image of three Jewish hareskin dealers was very popular in northern Europe and was reproduced in various mediums. The image depicts the Jewish men with stereotypically hooked noses, hooded eyes, beards, and pointed teeth. The scene, possibly based on a Dutch folktale about three Jewish hareskin dealers who swindle a miserly farmer, can be traced back to the lithographic printing firm of Johan Martin Billroth, which opened in 1829 in Groningen, Netherlands. This tobacco pipe bowl is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials. 041b061a72